horror

One of the true but unspoken shames of the horror convention industry is that, if you make one horror film that is moderately well known, you will be able to live off that moderate level of fame for the rest of your life, signing autographs and paying the bills when you’re unable to continue a ca

I recently had the opportunity to attend a press re-screening of two of Roman Polanski’s most influential films. “Repulsion” and “Rosemary’s Baby” were the picks for the night to honor the work that Polanski has done in his career. I decided against writing a full blog post about the event and thought doing a review of “Rosemary’s Baby” would be more fitting. This cult classic has become a seminal horror icon and still holds up as a masterpiece of film. The pacing of events combined with the competency of each character is as subtle as the hellish baby bump growing on Rosemary’s tummy.

Hollywood always attempts to make the planets align when it comes to horror movies. Taking every successful film from the past and morphing all of those ideas into one film has to work! Right? Sadly, no, that’s not how it works. At least that didn’t work for Warner Bros. crime thriller with a splash of horror mojo, “The Factory”. Take one part “Silence of the Lambs”, a little “Manhunter”, and add every Ashley Judd crime thriller available and “The Factory” is born. While it may be a distorted love child of the past, it has a strong cast, great photography, and a surprisingly twisted twist.

Before we begin the review, one thing to get clear about “Crawlspace.” This is not the “Crawlspace” from 1986 starring Klaus Kinski, and it’s not the “Crawlspace” that’s set to be released later this year starring Lori Loughlin. It’s also not the film that was originally named “Crawlspace” before getting re-named “The Descent” (yes, that “The Descent). No, this “Crawlspace” was released in 2012 and is from Australia.

It’s hard to argue that there could be an iconic horror figure that is currently more popular than the zombie. From film to television to comics, the living dead have done to popular culture what they do to human flesh: they have devoured en masse and made converts of us all.